Teaching purpose: In China's landscape paintings, the embodiment of oriental culture is excellent and profound. There is the masculine beauty of China martial arts and the rhythmic beauty of flowing mountains and rivers, which condenses the beauty of simplicity, diligence, courage, love of peace and pursuit of harmony of China people. Our traditional Chinese painting has a long history, extensive and profound, bearing rich culture and ideas.
It is not enough to appreciate landscape painting only by paying attention to brushwork, brushwork, composition and color. Of course, this is the foundation and must start from here. Landscape painting depicts nature's mountains, rivers, clouds, trees, stones and wood, as well as its beauty in form, color and even rhythm and melody. Its structure is open, free and unrestrained, which is why it is broad and full of vitality.
Teaching emphasis: combing and adjusting students' knowledge structure and aesthetic defects.
Teaching difficulties: let students learn to compare, think and evaluate, and learn to string old and new knowledge together; Teaching process:
First, organize teaching:
Second, the introduction of new courses:
1. Teacher's question: I have learned the common sense of ancient China landscape painting twice before. Who can tell me how to appreciate China landscape painting? Students discuss in groups, and send a representative to explain the discussion opinions in groups.
The content of this lesson is to understand the appreciation methods of ancient landscape paintings in China through the analysis of typical representative works of ancient landscape paintings in China. (1) The nature of China's ancient landscape painting and its important position in China's ancient painting;
We have learned in the last two classes that the painting habits in ancient China are traditionally divided into three painting themes: figures, landscapes and flowers and birds. The main description object of China ancient landscape painting is natural scenery. It not only shows colorful natural beauty, but also embodies the natural view and social aesthetic consciousness of ancient people in China, and even indirectly reflects social life from the side.
China's landscape painting, as an independent painting of Kobe figure painting, has made outstanding development in the history of painting in China, and formed a variety of painting methods and artistic styles in the long-term development. Mainly include: green landscape, ink landscape, light crimson landscape, small green landscape, boneless landscape and so on.
(2) Secondly, in the treatment of space, China's ancient landscape painting adopted the technique of "taking the grand view as oblique, seeing the big from the small". Is to regard the landscape painter himself as a giant, facing nature, just like people looking at bonsai. In this way, you can also get a panoramic view of the mountains and rivers, or show them in the form of long scrolls, such as 1 1 meter-long Map of Mountains and Rivers, or draw very complicated mountains with lofty and unique composition methods of Chinese paintings, such as The Journey to the West, Early Spring, Qingbian Seclusion and so on. Its spatial treatment highlights the unique composition method of China landscape painting. China's ancient landscape painting has created this unique artistic technique to deal with the spatial relationship, which not only embodies China's unique method of observing nature, but also contains China's aesthetic mind and China's view of nature.
(Video screening)
(3) In addition, in the long-term development, China landscape painting has formed many effective performance schemes.
For example, various rocks have various expressions, such as Pima, raindrops, lotus leaves and so on. In the application of these expression programs, we advocate flexible use and continuous development. In the brush and ink techniques of landscape painting, it is also more diverse. For example, the brushwork includes various painting methods and painting methods of the above-mentioned rocks; In ink painting, wet is "dyeing", dry is "wiping", and there are "breaking ink" and "accumulating ink". Visible, China ancient landscape painting also formed its own unique artistic tradition and system.
(Video screening)
(A) the comparison between China landscape painting and Western landscape painting.
"Only contrast can distinguish". Through the comparison between Chinese and western paintings, students can have a deeper understanding of China ancient landscape painting from the aspects of expression content, modeling method, space and perspective, painting concept and so on. Therefore, we can correctly appreciate China's ancient landscape paintings. Here, we compare from two aspects:
1. Comparison of performance contents
Remember that ancient poem "riddle"? "Looking at the mountains, listening to the silent water. It is not surprising that spring is still there. " The answer is "painting". However, is western landscape painting suitable for this mystery? What does this mean? It is also a painting that shows natural scenery. Why do China painters lock mountains and rivers alone? What do the words "landscape", "mountains and rivers" and "mountains and rivers" in China's ideological and cultural field symbolize? China's landscape paintings not only imitate, reproduce or copy nature, but also have extensive spiritual connotations.
2. Comparison between space and perspective
Cezanne's "Scenery with a House" stood on the mountain and looked into the distance. Compared with Wang Ximeng's "A Thousand Miles of Rivers and Mountains", the spatial breadth it depicts is far more than a thousand miles. Until the late impressionism, westerners always painted what they could see, that is, "the scenery in their eyes." However, when dealing with space, painters in China adopt the methods of "taking the big picture as small" and "taking the small as big", and regard the painter himself as a giant, a thousand miles away as a bonsai, and a thousand miles away as a "scenery in the heart". This unique spatial processing technique created by ancient landscape painters in China not only shows the unique method of China painters to observe nature, but also embodies the aesthetic mind of the Chinese nation and the natural view of China people. Its broad vision, broad mind, active artistic thinking and even Picasso's cubism are incomparable! Scatter perspective embodies China's open-minded view of nature, while focus perspective embodies the rigorous scientific view of nature in the West. Do they just form a complementary way of thinking?
Judging from the development of art, western plastic arts have been holding high the banner of "artists learn from nature" and have been exploring concrete descriptions for hundreds of years. It was not until the late19th century that they entered the advanced stage of imagery and abstraction. As early as 1000 years ago in China, painters had already realized the true meaning of artistic creation. Who says Chinese painting is not as good as western painting?
(2) Comparison between natural landscape and landscape in painting.
1. Our motherland is vast, with different scenery in the east, west, north and south, and famous mountains and rivers have their own characteristics. Although the class can't be here, it is good to let students feel the strange pines and rocks of Huangshan Mountain, which are towering and towering. The clouds on Lushan Mountain are steaming downwards. Comparing them with Liu Haisu's "Huangshan Map" and Zhang Daqian's "Lushan Map", we can see that the landscapes in the paintings are more distinctive and vivid than the natural landscapes.
China painters "learn from nature, learn from nature" and "seek for all the wonders and draft". Only from all kinds of strange rocks can we realize China's serious and rigorous academic attitude and highly refined pen and ink skills. It can be said that China has thousands of waters in Qian Shan and Chinese paintings have thousands of waters in Qian Shan! There are pictures of Lijiang River, Fuchun Mountain, Fuchun Shan Jutu, spring, autumn, eight scenic spots, winter snow, snow-capped mountains and temples, and drizzle. -Who said that China's landscape paintings are not realistic?
(3) the connection between situation, emotion, will and ambition
1. The connection between poetry and painting.
Su Dongpo once said: "There are paintings in poetry, which are fascinating; Look at the picture, there are poems in the picture. " He also said that "poetry and painting are integrated, striving for perfection and freshness", and landscape poetry and landscape painting have the same effect. "Dead vines and old trees faint crows, small bridges and flowing water, old roads and thin horses, and the sun sets, where there are heartbroken people in the world." There are paintings in poetry, and there are feelings in paintings. "The desert is lonely and straight, and the long river falls in yen." The poem portrays an empty and magnificent sunset scene in the desert, which is picturesque. Ancient poets in China used words to express their feelings for mountains and rivers. The painter uses pen and ink as a language to express his feelings. Isn't Wang Ximeng's long scroll "Thousands of Miles of Rivers and Mountains", which exhausted his young life in the Song Dynasty, a magnificent chapter in praising the mountains and rivers of the motherland? Try to match the scene in the painting with Cao Cao's poem "Looking at the Sea", and you will find that the perspectives, horizons and aesthetic realm of two people of different times and identities are surprisingly similar. Is there a picture with a poem or a poem with a picture? Recite Han Yu's "Jiang Xue", taste the map of fishing alone in Hanjiang River, and once again feel the artistic conception and artistic conception of poetry and painting. Let's take a look at other exquisite landscape paintings. Simple pen and ink are like carefully selected words, and the composition is like rhythm and rhythm. All the painters are literati, who like poetry and books. Poetry and painting are like their blood, which makes their artistic life endless. -Who says the artistic conception of Chinese painting is difficult to understand?
2. Express emotions through things, and express feelings of ambition through things.
The images expressed in Chinese paintings are often used by painters as carriers to express their thoughts and feelings. Some use poems and inscriptions to do some "kung fu from painting" in words, while others make good use of "Bi Xing", which is lyrical and expressive. China's landscape painting completed the process from Renaissance to post-impressionism, from objective expression to subjective initiative nearly a thousand years ahead of schedule. Thus, under the impetus of the wheel of history, China's painting creation entered another higher realm-spiritual realm. Tao at this time can be understood as the image, conception and expression of the picture. Tao in plastic arts is not a direct preaching, but with the help of the appeal of visual artistic images, people are inspired by appreciation and feelings and enter a beautiful spiritual realm. In Ni Zan's "Six Gentlemen", before painting, six trees, which are not very lush and surrounded by each other, are far away from the prosperity of the world. Deep water separates integrity from temptation, and the ethnic discrimination against Han intellectuals in the Yuan Dynasty has become the spiritual driving force for artists to write and draw. Compared with Ni Zan's out-of-touch "Jane", Wang Meng's "complexity" expresses his determination to live in seclusion from another extreme. With the help of the background and works of these two painters, it is clear at a glance that China's landscape paintings express their feelings by borrowing things, express their aspirations by holding things, and manage the pictures to express their individuality. The national integrity hidden in the landscape has been passed down by generations of literati and painters, breaking through the narrow sense of Han plot and rising to the broad sense of the Chinese nation. -Who says Chinese painting is boring?
(4) The artistic conception of China's ancient landscape paintings.
Landscape painting, especially freehand brushwork landscape painting, pursues the freedom of pen and ink, unrestrained, unrestrained and passionate catharsis. It pays attention to the use of pen and ink, the method of writing, the urgency of mistakes, twists and turns, and the charm, just like the melody of music and the rhythm of dance. In fact, the high realm of art is the same. China's landscape painters fully expressed qi, rhyme, thought, scenery, pen and ink in their works.
1。 Beauty of emptiness
The ethereal beauty embodied in the artistic conception of China's landscape painting is the main aesthetic interest form of China's landscape painting art, in which emptiness is static, emptiness is virtual, spirit is aura, and reality is existence. The spirit of life is based on emptiness. Without space, qi cannot be generated. On the contrary, without spirit, emptiness is dead emptiness and stubborn emptiness. The ethereal is the unity of opposites. The realm of ethereal beauty can only be understood by people with considerable cultural accomplishment, and only? Zen? Are you online? Jason Wu? Feel it. "In the Song Dynasty, Ma Yuan only showed the vast cold river in the" The Map of Fishing Alone in the Cold River ",with a single leaf and a fisherman sitting alone at one end of the boat. His body was frozen, and he was attracted by the fishing line floating with the running water. Except for a few microwaves around, the rest are blank. As a result, an empty and cold atmosphere arises spontaneously. There is also Liu Zongyuan's poem "There are no birds in hundreds of mountains, and there are no footprints in thousands of paths." A boat, a bamboo cloak, and an old man fishing in the cold Jiang Xue describe the same artistic conception. The layout of this painting has a unique density relationship. There is a big blank in the picture, but the blank is not nothingness, but feeling the vastness of the surrounding rivers, thus creating an ethereal, far-reaching and simple artistic conception. There are only a few strokes of China's landscape paintings, which convey extremely rich connotations with extremely refined lines and pen and ink, and the picture is memorable. As Zong Baihua said, "What kind of painting is it? Spiritual space? . Just like a good calligraphy work also shows a spiritual space. " "China's landscape paintings tend to be simple and light, but there is an infinite realm in simplicity and light. Ni Yunlin has one tree and one stone, and thousands of stones cannot be crossed. " On the one hand, the ethereal beauty makes the painter have full initiative in the composition of artistic conception, breaking the limitation of objective images in a specific time and space, on the other hand, it also provides viewers with a broad artistic imagination world, so that the limited space and images in the works contain infinite worlds and rich ideological content.
2. Beauty of external image
The beauty of the external image of China's landscape painting is not only reflected in the painting itself, but also includes the infinity outside the painting, that is, "there is a painting outside the painting". As Zong Baihua, the master of aesthetics, said, "The spirit of China's painting is a deep and silent fusion with this infinite nature and infinite space, and it is integrated with the body". Landscape painting is the highest realm of philosophy. What it pursues is not the complicated world, but the perfect unity of nature and human nature, and it is a spiritual pursuit of getting rid of secularism. From the landscape paintings of Ni Zan in Yuan Dynasty, Shi Tao and Dong Qichang in Ming and Qing Dynasties, we can see not only the language symbols of painting, but also the inner spiritual pursuit of painters. "We are not satisfied with the pursuit of external simulation and form of things, but strive to show some kind of internal Shen Feng, which is based on the real and general observation, grasp and description of natural scenery and objects." Zong Baihua once said that "artistic realm and philosophical realm are the freest and richest inner self's birth".
3. Poetic beauty
The poetic beauty of China's landscape paintings has always been advocated by China's paintings, which enriches the aesthetic mood of China's landscape paintings. Guo Xiqi's painting "Lin Gao Quan Zhi" in the Song Dynasty said: "Poetry is an invisible painting, and painting is a tangible poem ... The realm is mature, and both the heart and the hand have responded.
For the sake of moderation, both sides can satisfy the source. "The consistency of poetry and painting is the highest ideal pursued by China landscape painters, and it is also the highest realm of China landscape painting. A landscape painting with wonderful artistic conception is engraved with a rich man's fresh and beautiful poem, which is even more poetic. With calligraphy and seal cutting, poetry and calligraphy are printed in one furnace, which sublimates poetry and painting, time and space, hearing and vision, thus inducing the spirit of thinking about the past and learning from the present and the elegance of commodity logistics. Wang Wei, a Tang Dynasty poet, showed the painter's temperament, revealed the relationship between poetry and painting in the field of literature and painting, and put forward a criterion of artistic conception of landscape painting-painting in poetry. His work "Snow Roll on the Mountain" naturally reminds people of his poem "This river crosses heaven and earth, where the color of the mountain is both right and wrong". Su Shi commented that Wang Wei's paintings are "paintings in poetry, paintings in poetry; Look at the picture. There are poems in it. "That's what it means. Landscape painting is both lyrical and lyrical, blending scenes; It is both a "nature created by foreign teachers" and a "spiritual source obtained from China", which is both "similar" and "dissimilar" and is in between. Poems on paintings are a unique form of China's landscape painting, which enriches the expressive force of the artistic conception of landscape painting. Of course, the inscription or postscript in the painting is just a form. The poetic meaning in real landscape painting is not contained in the inscription, but embodied in the artistic conception, composition, image, color and the blending of poetry and painting. Although there is no poem, it is also full of poetic artistic conception. " Without a word, it's all romantic. "
Three. Summary (courseware used)
It is essential to understand the ancient culture of China and seek innovation and change.
The artistic conception of landscape painting is melted in idealized and emotional artistic expression, which is highly processed by artists. At the same time, it gives the audience full space for association and re-creation, so that the audience can feel the scenery, meaning, emotion and taste after reading it, which is the artistic conception. Therefore, the artistic conception of ethereal beauty, external image beauty and poetic beauty in China's landscape paintings is not only the end of the painter's creation, but also the starting point of the viewer's re-creation, and it is the bridge between the painter and the viewer. China landscape painters, facing the natural landscape, "feel the spirit wonderfully", capture its spiritual beauty, fit the spiritual beauty of things with selfless heart, and reach the spiritual realm of the unity of things and me, thus creating works that condense the artist's spiritual world. In the state of emptiness, the appreciator reaches the realm of "all interests melt into his thoughts", thus capturing the charm of landscape works and achieving the purpose of "moistening things quietly".